Ursuline Students Honor Big Voice-Big Hair '60s Nostaglia with Beehive: The Musical

Content of this post comes from a press release from Ursuline Academy...

It was a revolutionary time of female role models with big hair and high boots — the 60s. A time of flower power and girl power. Beehive: The 60s Musical is a celebration of the most powerful and iconic female voices of the 1960s. An uplifting, upbeat salute to female empowerment. Told from the perspective of six women who come of age in this enigmatic decade, Beehive will take audiences on a nostalgic journey through timeless hits of the era. This toe-tapping production features classic chart-toppers that will put a song in your heart and leave you dancing in the aisles.

Beehive: The 60s Musical. Production photo courtesy of Ursuline Academy.

This Broadway musical of the mid-1980s was created by the late Larry Gallagher, who envisioned that an onstage band would celebrate the era along with the cast. Some of the timeless hits of the era performed include My Boyfriend’s Back, Son of a Preacher Man, Natural Woman, It’s My Party, Where the Boys Are, and Cry Baby.

Creative Team: Direction/Choreography - Tori Healy; Music Direction - Joe Louden; Scenic Design - Joe Louden, Jim Lober, Tori Healy; Costume Design - Tori Healy, Dinah Schlecht; Stage Management - Maddie Manley; Student Choreographer/Tech - Annabelle Hayes.

Cast: Wanda - Kaitlyn Kotowski; Pattie - Nicole Boatright; Alison- Jojo Schlecht; Laura - Abby Selzer; Jasmine/Gina - Elle Persoleo.

Band: Piano/Conductor - Joe Louden; Percussion- Jeffrey Dombchick; Guitar-Paul Grey; Bass - Sarah Renz; Trumpet - Evan Roberts; Saxophone - Dave Hopkins.

IF YOU GO

Ursuline Academy Theater Presents: Beehive: The 60’s Musical

November 22 & 23 at 7:30 pm and November 24 at 2:00 pm

Ursuline Academy, Raskob Auditorium

CLICK HERE for TICKETS

Navigating the Rough Crossing with The REP

By Mike Logothetis
Theater reviewer Mike Logothetis grew up in North Wilmington, performing in school and local theater productions. He lives in Newark, but you can find him wherever the arts are good.

The Tom Stoppard absurdist comedy Rough Crossing began its run at the University of Delaware Resident Ensemble Players’ (The REP) campus home this weekend. The show entertains with witty banter and lots of visual pizzaz.

(L-R): Stephen Pelinski, Hassan El-Amin, Mic Matarrese, Elizabeth Heflin, Michael Gotch
star in The REP's production of Rough Crossing. Photo courtesy of The REP.

While its zaniness may go overboard in places, it is a pleasing production which satisfies on multiple levels. Liberally adapted from celebrated Hungarian playwright Ferenc Molnár’s Play at the Castle, the show sees playwrights Sandor Turai (Stephen Pelinski) and Alex Gal (Hassan El-Amin) onboard the SS Italian Castle as they work on their latest musical The Cruise of the Dodo. Both writers are hoping to refresh their careers by working with an up-and-coming composer, the anxious and lovelorn Adam Adam (Michael Gotch).

Adam has a tic which manifests as delayed verbal responses to questions. Naturally, every conversation which includes him loses its way because of his inability to keep up. The nervous Adam is engaged to one of the stars of the show — the glamorous Natasha Navrátilova (Elizabeth Heflin). But when Adam overhears Natasha’s co-star Ivor Fish (Mic Matarrese) agonizingly confess hisunwavering love for her on her cabin balcony 
— “Let the whole world know that I mean nothing to you. I’m a dashed Martini!” — the writers must work to keep Adam engaged and alive. Nautical nonsense ensues on a tropical themed ship set created by scenic designer Stefanie Hansen.

Typically, Stoppard’s work is the star, but for this production the physical theater is the feature. Hansen has created three beautiful and complex settings for the director Ian Belknap to utilize. The most dynamic and lush décor is the setting for Act II: the “Pisa Room.” The performance space has art deco-influenced lines and moving leaning towers (of Pisa). Even the chandeliers sway with the ship’s movements.

In Act II, Natasha and Ivor rehearse their patently awful Dodo dialog in a ridiculous plot which keeps changing, per the direction of Gal and Turai. They take mini smoke and make-up breaks between musical numbers and feedback. Heflin and Matarrese lean into wacky melodrama, prancing around the ship’s rehearsal space and making constant digs at Turai’s ridiculous writing. All the while, the ultimate goal is to get Adam back in a good headspace so they can finish the show.

The running gag for the cabin steward Dvornichek (Lee E. Ernst) is his misunderstanding of Turai’s requests and constantly downing his ordered cognac. Of course, this can only take place after the dim-witted Dvornichek learns proper nautical terminology. As for Gal, the man simply cannot stop grazing on whatever food is present.

Kudos to actor El-Amin for not mumbling lines with a full maw or even choking!

Another highlight is the live music provided by pianist Charlie Gilbert. Gilbert has no lines, but adds accompaniment and interludes during which silent actors Kyle Montanez and Mackenzie Speed entertain. Gilbert can be found either on a rising stage apron or on stage with the cast. The show ends happily in a cabaretstyle finale with curtain call.

Performances of Rough Crossing run November 7-24. Informal talkbacks with the cast take place following the evening performances on Thursday, November 14 and Friday, November 22. Two “prologues” occur on Saturday, November 16 and Sunday, November 24. Tickets prices range from $35-39 with discounts available for students, seniors, plus University of Delaware faculty and staff. 

Tickets can be purchased online at www.rep.udel.edu; by contacting The REP box office at 302-831-2204; or visiting in person at 110 Orchard Road Tuesdays through Fridays from 12:00 to 5:00pm. The show runs approximately 2.5 hours with one 15-minute intermission between acts.

The Thompson Theatre at the Roselle Center for the Arts is located on the University of Delaware’s Newark campus and is ADA-compliant. It is equipped with a hearing loop system, which works with hearing aid t-coils, cochlear implants, and in-house hearing devices. Wheelchair and other seating requests can be made prior to the performance by calling the box office or emailing cfa-boxoffice@udel.edu.

“The women and children don’t give an inch on this boat” – Alex Gal

Chapel Street Players Celebrate New Show & New Home

By Mike Logothetis
Theater reviewer Mike Logothetis grew up in North Wilmington, performing in school and local theater productions. He lives in Newark, but you can find him wherever the arts are good.

After signing a deal to depart its cramped quarters on North Chapel Street in early 2019, the Chapel Street Players have new digs for their 90th season! The recently completed building features 210 seats – an increase from the former 155 – as well as a large lobby, box office, bar area, and green room. The new theater also has a stage curtain, a modern sound system, more comfortable seats, bigger dressing rooms, and wings for actors to gather while waiting for their cues to go on stage. A 24-foot ceiling allows volunteers to build complex two-story sets. Most importantly, the new location offers plenty of free parking.

While a bit boxy, the new theater is quite beautiful and a deserved home for the long-time community theater. Congratulations to the leadership for all its work in securing the funding, real estate, and partnerships to pull off this monumental move. The capital campaign raised $700,000 over four years to make this all possible. Kudos!

According to CSP President Scott F. Mason: “Due to the rush to get to opening there are more amenities to come such as chandeliers in the lobby, our logo, outdoor signage, an art gallery area, and more. Every show this season will see more and more added to the space.”

(L-R): Michael Anderson, Joel Richard Watson, Connie Regan,

Leslie Green Shapiro, and Nicholas Savino star in CSP's

Footlight Frenzy. Photo provided by Chapel Street Players.

Oh, right…there was a show to put on…a very funny show. Footlight Frenzy is a fast-paced modern farce written by Ron House, Alan Shearman, Bud Slocumb, and Diz White. In a desperate attempt to save their bankrupt “School for Unusual Children,” an inexperienced local group valiantly mounts an ambitious benefit play written by a wanna-be Broadway director. His questionable direction and the group’s dubious talent turn the production into a shambles. 

The wacky story shifts from the dramatic (and at times over-dramatic) tribulations of the performers’ real lives to the play they are performing. The audience sees this entire chaotic story from the best seat in the house – the back of the stage.

The run-up to curtain becomes a disaster as the poorly-conceived play Tarnished Silver is set for its world premiere. Several unseen cast members have quit the production late-on and the shaken director Tony Langdon (Joel Richard Watson) turns to the janitor Benny Dibble (Michael Anderson) to fill in the crucial role of a notorious gangster. (To boot, one of the missing actors is replaced by a telephone!) 

As a young man with no stage experience, Benny hams it up but also comes down with paralyzing stage fright. The ex-actress/singer Laura Becker (Connie Regan) hasn’t trodden the boards in a long time. Laura becomes neurotic as young Debbie Turner (Leslie Green Shapiro) lustily pursues her husband Paul (Tom Hartzell) — a teacher at the school who is always playing catch-up. To add another layer, Debbie’s unrequited lover is the oft-inept janitor Benny.

Meanwhile, Laura’s old flame Alex Malone (Nicholas Savino) is also in the production of Tarnished Silver. His addition just adds froth to the madcap antics. To cope, Laura tries to self-medicate with all sorts of drugs to calm her jangled nerves. You can imagine that doesn’t turn out as expected. 

The jokes come quickly and furiously — both spoken and in the form of physical humor. Highlights include a “toy” dog, a rollicking fight scene, an out-of-place polo match, and the poor (detachable) head of baby Anne. Also, try to keep track of how many gunshots are fired by Debbie — AKA Gwen in Tarnished Silver — to “kill” her fellow actors. Some just won’t die!

Director Brian M. Touchette delivers the action at a rapid clip; although there were times when brief lulls would slow the pace. The cast did a worthy job of acting to the house as well as to the back – where the audience for Tarnished Silver sits. The intertwining plots were sometimes hard to follow, but the jokes never stopped coming.

Performances of Footloose Frenzy run the first two weekends of November. Evening shows on November 8 and 9 are at 8:00pm. A matinee show on November 9 begin at 2:00pm. Tickets are $22 for adults. Students, seniors, and military tickets are $20. Tickes for children under 12 are $12. Purchases may be made at https://chapelstreetplayers.org/footlight-frenzy/ or at the box office, subject to availability. The run time is approximately 2 hours and 20 minutes which includes a 15-minute intermission. 

The new theater is located at 643 Creek View Road in Newark. Free parking can be easily located all around the building. A selection of wine, beer, and cocktails are now available before the show and at intermission from the new concessions booth. Water, soda, and snacks are also offered. Cash or credit cards are accepted. 

Chapel Street Players’ 90th season will continue with performances of Times Square Angel in December, The Foxy Mrs. Bumstead Leigh in February, Steel Magnolias in April and the annual Renee G. O’Leary fundraiser in the spring. A season package costs $70.

Dr. Renee G. O'Leary is the only living person and CSP Board Member who has worked in all five CSP locations! She started as an actress in Mitchell Hall. She is a true legend and made a significant donation to have the hearing assistance system installed in the new space. 

CSP is a 501c3 non-profit all-volunteer organization.

High Heels and High Notes: Kinky Boots at DTC

By Jeff Gudzune
Jeff writes book reviews for a variety of publishers and is active in community theater. Since 2013, Jeff has owned and operated Matrix Notary Service.

With equal parts sass and sizzle, Delaware Theater Company’s production of Kinky Boots took the stage Saturday night. It was a sold-out crowd for the most anticipated musical of the season. Based on the 2005 film, Kinky Boots is a musical comedy centered on the unlikely pairing of boot-maker Charlie and drag queen Lola. The premise alone is unique enough to tantalize this theatergoer. I was already clutching my pearls. 

Kinky Boots playing now at DTC. Photo by Matt Urban, NüPOINT Marketing

What happened on the stage Saturday evening was nothing short of magical. Kinky Boots is more than a show, it’s an experience. It’s something that speaks to the dreamer within us all. It’s a challenge to live one’s truth.

With a short expository song introducing the characters as young men, the show quickly escalates into a fast-paced riotous explosion of emotions. When Charlie is forced to take over the family business, he is unprepared for the rocky road ahead of him. The factory that has been in his family for four generations is in danger of closure due to shaky economic times. Realizing his family firm will not survive, Charlie informs his employees that he must let them all go. In a shocking and hilarious reversal, each employee gives Charlie a microeconomics lesson that motivates him to find a new way of doing business. A chance encounter with Lola outside a drag club in London creates a partnership that rocks the industry.

The Delaware Theater Company partnered with New Light Theater to bring about this amazing production. Every aspect of this production was carefully managed to provide an awe-inspiring theatrical experience. The stage itself was its own character, contributing to the mood of the performance. 

 A two-story rendering of the factory floor with movable equipment pieces and a second-story office provide a bold visual. The use of a long slanting staircase allowed for emotional moments during solo numbers, juxtaposing a physical descent with an emotional revelation. The stage is a prime example of a great use of space and brought an added undercurrent to the production.

There are no stars in this production. By that I mean everyone stands out in their own way. There are main characters, tertiary figures, and ensemble members — all of whom are amazing in their contributions. Adam Hoyak (Charlie) transforms from reserved and uncertain to passionate and determined. Rachel Maselek (Lauren) is not only hilarious in her role but manages to bring an equal amount of comedy and longing to her numbers as she gradually falls for Charlie. Cookie Diorio (Lola) has a stage presence that can be felt in the dark and a voice that resonates to the back of the house. The Angels were more than backup dancers, they were a show of their own. The ensemble factory members each brought character traits to their silent yet vital roles.

Kinky Boots was a wonderful and unique breath of fresh air in a world where entertainment consists of zombies, viral pandemics, dystopias, and other apocalyptic ephemera. 

Additional performances of Kinky Boots are:

• Wednesday, October 2, @ 2:00pm
• Thursday, October 3 @ 7:00pm
• Friday, October 4 @ 7:00pm
• Saturday, October 5 @ 2:00pm
• Saturday, October 5 @ 7:30pm
• Sunday, October 6 @ 2:00pm
• Wednesday, October 9 @ 2:00pm
• Thursday, October 10 @ 7:00pm
• Friday, October 11 @ 7:00pm
• Saturday, October 12 @ 2:00pm
• Saturday, October 12 @ 7:30pm
• Sunday, October 13 @ 2:00pm

Ticket prices range from $32-$90. Visit DelawareTheatre.org to purchase!

We're Head Over Heels for Bootless' Final Season Kickoff

By Mike Logothetis
Theater reviewer Mike Logothetis grew up in North Wilmington, performing in school and local theater productions. He lives in Newark, but you can find him wherever the arts are good.

Bootless Stageworks kicks off its twenty-second and final [sniffle...] season with a lively production of Head Over Heels, a jukebox musical that fuses the plot of The Countess of Pembroke's Arcadia – a 16th Century work by Sir Philip Sidney – and the music of The Go-Go’s.

The multi-faceted love story features the all-female group’s hit songs “We Got the Beat,” “Our Lips Are Sealed,” and “Vacation” plus Belinda Carlisle’s solo efforts “Heaven is a Place on Earth” and “Mad About You.” Many people in the seats sang along to the tunes they loved as radio staples in the 1980s.

A mash-up of posh and punk, Head Over Heels is an unpredictable romp about what happens when the court of Arcadia is threatened by the mystical Oracle with the loss of its “Beat,” the divine power that ensures the kingdom’s prosperity. In order to save their beloved realm, the royal family embarks on an extravagant journey wrought with mistaken identities, jealous lovers, sexual awakening, scandal, and self-discovery. Not everything and everyone are what they seem.

Diving into the intricacies of the plot would be foolhardy and though some subtle wordplay got lost in the theater space, the audience joyously followed the broad antics of the company.

Will Rotsch was a standout player as the kindhearted shepherd Musidorus. A highlight of the show was a disguised Musidorus tempting both King Basilius (John Jerbasi) and Queen Gynecia (Tara Herweg) simultaneously during the lovely duet “This Old Feeling.” Rotsch’s physical humor – wielding his crook, acting as an Amazon warrior, etc. – and his warm yet powerful vocals made his character one to root for.

Princesses Pamela (Samantha McNerney) and Philoclea (Maria Leonetti) were strong individually and as sisters encouraging each other in their quests for true love. Kudos to Director Andrew Dean Laino for his use of a faux mirror during “Beautiful” when Pamela sings of her beauty while Philoclea is supporting her in their chambers. Leonetti and McNerney have big voices, but use them differently – McNerney tended to be more rock-heavy (“How Much More”) while Leonetti vocalized more gently throughout. Both styles were appropriate for the characters they portrayed.

The Oracle Pythio (Nathan Hale) was a commanding presence with a booming voice while donning Costume Designer Rosanne DellAversano’s extravagant outfits. “Vision of Nowness” was a fun ensemble number led by Pythio as was “Heaven is a Place on Earth” – where a projected screen insinuated some amorous activities afoot.

The cast was rounded out by Aubrey Murphy (Mopsa), Sedric Willis (Dametus), Rosanne DellAversano (Ensemble), Genevieve Francis (Ensemble), Abbey Ketterling (Ensemble), and Jen Rotsch (Ensemble).

Musical standouts included “Our Lips Are Sealed” and “Head Over Heels” but the highpoint was “Mad About You.” Shepherd Musidorus proclaims his unconditional love for Philoclea in a field…with sheep…singing the backup chorus, “Maaaaaad about you,” like baa-ing sheep would sing. The audience ate it up.

Music Director James W. Fuerst led a talented band who both played behind the actors and let those great Go-Go’s riffs break through. There was a lot of foot-tapping going on.

Head Over Heels preaches unconditional love and acceptance of yourself and everyone you know, no matter their gender or sexual identity. And there’s a happy ending. And it has a rockin’ soundtrack.

The performance schedule of Head Over Heels, The Musical is:

• Saturday, September 28 @ 8:00pm
• Sunday, September 29 @ 3:00pm
• Friday, October 3 @ 7:30pm
• Saturday, October 4 @ 8:00pm
• Sunday, October 5 @ 8:00pm

Tickets start at $31 and tickets can be purchased via website (https://www.bootless.org/hoh/) or by calling Bootless Stageworks at 302.887.9300. Tickets are also available at the door, subject to availability. The run time is approximately 2 hours and 15 minutes which includes one 15-minute intermission. Bootless Stageworks offers a full selection of alcoholic and non-alcoholic drinks plus some snacks at its concessions stand. The theater space is in the basement of St. Stephen’s Lutheran Church at 1301 N. Broom Street in Wilmington.

I encourage you to “celebrate the [final] season” of theater at Bootless Stageworks filled with the “Beat.”

Hassan Najjar Appointed Executive Director of the Biggs Museum of American Art

The content of this post comes from a press release from the Biggs Museum of Art...

The Biggs Museum of American Art is proud to announce the appointment of Hassan Najjar as its new Executive Director. With a distinguished career in the arts and museum management, Najjar's leadership marks the beginning of an exciting new chapter for the Biggs.

Hassan Najjar, Executive Director of the Biggs Museum.
Photo provided by the Biggs Museum. 

Najjar joins the Biggs from the Foothills Art Center in Golden, Colorado, where he served as Executive Director. His tenure at Foothills was marked by transformative initiatives that enhanced the Center's community engagement, expanded its programs, and significantly increased its funding base. Under Najjar's leadership, Foothills Art Center became a beacon of arts and culture in the region, with notable achievements in community-building efforts, responsive programming, and using arts as driver of economic development.  

"We are thrilled to welcome Hassan Najjar to the Biggs," said Wilma Mishoe, President of the Biggs Museum Board of Trustees. "Hassan's vision, experience, and commitment to the arts are exactly what we need to propel the Biggs into a new era. His proven track record of success, particularly at the Foothills Art Center, demonstrates his ability to lead an institution to new heights, and we are confident that his leadership will bring fresh energy and innovation to our museum."

Hassan Najjar's appointment was the culmination of a competitive nationwide search led by Arts Consulting Group (ACG), engaged by the Biggs Museum Board to recruit the next Executive Director of the Museum. Najjar's deep experience in museum management and museum education, board governance, and financial management, combined with his passion for creating inclusive, equitable, and diverse communities, set him apart as the ideal candidate for the role.

In his role as Executive Director of the Foothills Arts Center, Najjar worked in a public/private partnership to rehabilitate historic landmarks and double the size of the facility, demonstrating that he is well-equipped to lead the Biggs through its expansion, which will connect historic buildings on its campus gifted to the Museum from the State of Delaware.

Jorge Zamanillo, President of the American Alliance of Museums, also expressed his enthusiasm for Najjar's new position. "Hassan Najjar is a respected leader in the museum community, and his appointment as Executive Director of the Biggs Museum is a significant win for both the museum and the broader arts community. His innovative approach and dedication to advancing the arts will undoubtedly benefit the Biggs and its audiences. We look forward to seeing the impact of his leadership in Dover."

Najjar's career in the arts spans several prestigious roles, including Executive Director of the Museum Center at 5ive Points in Cleveland, TN, and Assistant Curator of Education at the Hunter Museum of American Art in Chattanooga, TN. His expertise in curating engaging educational programs, managing diverse teams, and securing significant financial support will be invaluable as he leads the Biggs into its next phase.

"I am deeply honored to join the Biggs Museum of American Art as its next Executive Director," said Najjar. "The Biggs is a remarkable institution with a rich history and an exciting future. I look forward to working with the Board, staff, and community to build on the museum's successes and to explore new opportunities for growth and innovation."

Najjar's appointment marks a pivotal moment for the Biggs Museum, as it continues to enhance its role as a cultural leader in Delaware and beyond. His leadership promises to bring new perspectives, dynamic programming, and a renewed commitment to serving the diverse communities of Dover and the surrounding region.

ABOUT THE BIGGS MUSEUM OF ART
The Biggs Museum of American Art is a dynamic, accredited, art museum in Dover, Delaware, founded in 1993 by collector Sewell C. Biggs. The Biggs Museum is nationally recognized for its exceptional collections of American decorative arts of Delaware and the Mid-Atlantic region, and for its collections of American art from 1700 to today. The Museum engages audiences through a compelling program of collection based and temporary exhibitions plus encourages the development of creativity and an appreciation for art by offering a comprehensive slate of educational programming for all ages. The Biggs Museum of American Art is a private, non-profit 501(c) (3) organization.

Visit www.thebiggsmuseum.org to learn more.

Kuumba Academy Announces New School Leader

The content of this post comes from a press release from Kuumba Academy Charter School...

The Kuumba Academy School Board is excited to announce the appointment of Dr. Natakie Chestnut-Lee as the new Chief Executive Officer (CEO) of Kuumba Academy Charter School, effective August 19, 2024.

Dr. Natakie Chestnut-Lee, new CEO of Kuumba Academy.
Photo provided by Kuumba Academy. 

Following an extensive and highly competitive search process incorporating input from staff and parents, Dr. Chestnut-Lee emerged as the ideal leader to guide the school into a new era of excellence. She brings with her a strategic vision, a deep passion for education, and a steadfast dedication to advancing the success of the professional team and student body.

Chestnut-Lee is a third-generation educator and proud HBCU graduate who combines analytical thinking with creativity, cultural grounding, and transparency. With over 20 years of experience in public, private, and charter school settings across Pennsylvania and New Jersey, she is a consensus-building, solution-oriented academic leader. "I am confident in my ability to lead Kuumba Academy to new heights of academic excellence and operational efficiency," she shared.

Throughout her career, Chestnut-Lee has consistently demonstrated strong leadership in coaching and managing adult outcomes, fostering a culture of continuous improvement and professional growth among educators and staff. Her previous roles included implementing comprehensive professional development programs that significantly enhanced instructional practices and leadership skills, resulting in improved teacher effectiveness and student outcomes. By pairing experienced educators with new teachers through a mentorship approach, she has increased both retention rates and job satisfaction.

"By creating a collaborative and supportive environment, I empower teachers to take ownership of their professional development, leading to increased innovation in the classroom and improved student performance," Chestnut-Lee said. 

Chestnut-Lee introduced a comprehensive multi-tiered system of support (MTSS) that provided differentiated instruction, and interventions tailored to individual students' needs. This approach led to measurable improvements in academic outcomes, particularly among students with diverse learning needs. 

"Through these efforts, we saw significant gains in standardized test scores, increased graduation rates, and a reduction in the achievement gap between different student groups," said Chestnut-Lee. "My commitment to data-driven strategies and collaborative leadership plays a crucial role in these positive outcomes, demonstrating my ability to drive meaningful improvements in student achievement."

Chestnut-Lee’s extensive credentials include a background in dance arts, special education, adult education, criminal justice, school culture, and educational leadership. She has published several works, including her Walden University dissertation titled 'U.S. Teachers’ Perceptions on School Violence Programs' (2016), and more recently, the 2023 STEM Coloring and Activity Book, Piper and Tabia’s Journey to Egypt (a three-book Multicultural STEM series, 2023), Infusion Coloring Book (2023), and an eleven-journal collection (2023). 

Please join the Kuumba School Board, Sally Maldonado, Chief Operating Officer, and the Kuumba Village in extending a warm and enthusiastic welcome to Dr. Natakie Chestnut-Lee as the new CEO of Kuumba Academy Charter School.

ABOUT KUUMBA ACADEMY CHARTER SCHOOL
In response to the outcry from Wilmington parents looking for a high-quality public education and increased access to arts education for their children, Christina Cultural Arts Center (CCAC) leaders, parents, and community supporters took action and were granted a Department of Education charter to create Kuumba Academy Charter School (KACS) in 2001. KACS was the first school model in the state that partnered a public charter school with a nonprofit community organization.

CCAC and KACS form a unique nonprofit/public school partnership committed to educational excellence. Through the innovative union of academics, arts, technology, and family engagement, each KACS student’s individual learning style is nurtured — resulting in creative learners who are agents of positive change in the community.

Visit kuumbaacademy.org to learn more about the school and its programs.

Hip Hop Pioneer Flavor Flav to Headline 2nd Annual Hip Hop Summit at Delaware Art Museum

The content of this post comes from a press release courtesy of the Delaware Art Museum...

On Saturday, October 26, 2024, Hip Hop community and social justice advocates will gather at the Delaware Art Museum for the 2nd Annual Hip Hop Cultural Summit, presented by AllHipHop, Guerrilla Republik, and the Delaware Art Museum. 

Running from 10:00 am to 5:00 pm, this free, family-friendly event offers an opportunity for learning, growth, and community-building while celebrating and uplifting Hip Hop’s deep roots in social justice, change, and civic engagement. The event is free to attend, but registration is required. CLICK HERE TO REGISTER!

Hip Hop legend Flavor Flav will headline the 2nd Annual Hip Hop Cultural Summit
on Oct. 26. Photo provided by Delaware Art Museum.

Following the success of last year’s event, which drew over 1,000 attendees, this year’s event promises to be even more impactful, and Flavor Flav, co-founder of the legendary group Public Enemy, is confirmed as the headliner. 

Additional speakers include Chuck Creekmur, Co-Founder of AllHipHop, who will facilitate a Q&A with Flavor Flav; Hakim Green, Co-Founder of 24 Hours of Peace, who will share his insights on Hip Hop’s influence on education and activism; Pam Africa, renowned social justice advocate, who will speak on the intersection of Hip Hop and activism; and Dr. Yasser Arafat Payne, respected University of Delaware scholar, who will explore the academic and societal impact of Hip Hop culture.

Delaware Art Museum’s Community Engagement Specialist and Guerrilla Republik co-founder, Iz Balleto says of the Summit: "Our goal is to re-educate people on the true purpose of Hip Hop, as many have forgotten its message and meaning. This event is not just entertainment; it's an opportunity for empowerment and a chance to learn what Hip Hop culture stands for. Hip Hop began with a message of peace and advocacy for community needs through its elements, and it has always belonged to the people."

The Summit also includes Hip Hop with a Purpose, a presentation of three dynamic exhibitions. Visitors can explore a captivating photography exhibition by T. Eric Monroe, highlighting Hip Hop's rich history and cultural influence; a special exhibition from the Victrola Museum celebrating the invention of the record player; and a local artists' showcase delving into the Art of Activism and Social Justice. 

The event will also feature a series of competitive battles, including MC, DJ, graffiti, and breakdancing, judged by nationally recognized and local experts, showcasing the skill and creativity defining Hip Hop as a global cultural phenomenon. 

AllHipHop founder Grouchy Greg Watkins expressed his excitement for the event: "I'm incredibly excited about this year's Summit and the amazing lineup of guests we have in store. From legends like Flavor Flav to thought leaders like Hakim Green, this event will truly showcase the power of Hip Hop in driving social change. I’m looking forward to seeing the community come together to experience the art, the discussions, and the battles. It’s going to be an inspiring and unforgettable day for everyone."

Drama League's Women of Carrie: The Musical Make It Scary Good

By Mike Logothetis
Theater reviewer Mike Logothetis grew up in North Wilmington, performing in school and local theater productions. He lives in Newark, but you can find him wherever the arts are good.

The Wilmington Drama League is kicking off its 2024/25 season with Carrie: The Musical – a show based on Stephen King’s indelible tale of high school bullying gone wrong. If you expect to find mousy females cowering in the shadows of a Maine hamlet, you are sorely mistaken. The women in this production take it to soaring heights.

The musical focuses on Carrie White (Julia Miller) – an awkward teenage girl with telekinetic powers – whose lonely life is dominated by her oppressive mother, Margaret (Megan Everhart). When she is humiliated by her classmates at the high school prom, she unleashes chaos on everyone and everything out of vengeance. But that’s skipping ahead and missing the wonderful build-up.

Carrie: The Musical is playing now at
Wilmington Drama League. Photo courtesy of WDL.

Let’s start with the set. Anthony Delnegro has created an open, barren space with more to it than it seems. Working in tandem with the incredible lighting design by Patrick Yarrington, the stage takes on passive and active roles in the production. It’s impressive when Carrie uses her powers to slam shut the windows at home before an approaching storm.

The cast is small, but tight. Director Lauren Vitalo and choreographer Dominic Santos have their actors moving with purpose and in concert. There is dynamism and action throughout the production. It’s not distracting or frivolous but adds to the building tension within the script.

But the stars of the show are the women. Miller has both the acting and singing chops to portray all the facets of Carrie beautifully. She shines in solos “Carrie” and “Why Not Me?” along with showing a physical transformation of Carrie from outcast to prom queen. Everhart is incredibly menacing yet eerily tender as Carrie’s mom Margaret. Her obsessing over Bible verses to lead her daughter along a righteous path is scary. But her voice melds tenderly with Miller’s in duets “And Eve Was Weak” and “Evening Prayers.” This is not an ideal mother-daughter relationship and the audience feels it.

Natalie Ruth’s portrayal of classmate and Carrie sympathizer Sue Snell is excellent. Vitalo starts the show with a spotlight on Ruth and she doesn’t shy away. Her growing concern for the treatment of Carrie is a thread that is revisited as the show progresses. Her subdued vocals in “Once You See” is a highlight. Hayley Hughes plays the delightfully energetic and wicked antagonist Chris Hargensen. Chris is the cool girl who demands respect and a level of popularity above all others. She riles up the seniors at a party with “The World According to Chris.” Jamie Beth Weist plays the voice of reason in the form of gym teacher Miss Gardner. She recognizes Carrie’s differences and tries to give her confidence. The “Unsuspecting Hearts” duet between the two is a wonderful vocal pairing.

Let me not neglect Ricky Sciavicco as BMOC Tommy Ross. Tommy is popular with everyone and even has depth – “Dreamer in Disguise.” Upon his girlfriend Sue’s urging, he takes Carrie to the prom to give her a sense of normalcy and show that people care for her. Boy, does that act of kindness go wrong…

The book is by Lawrence D. Cohen with lyrics by Dean Pitchford, and music by Michael Gore. It integrates elements from the 1974 King novel and 1976 film adaptation. There is no live orchestra so the actors sing to piped-in music. It doesn’t matter. The synchronization is flawless.

The remainder of the cast is: Lily Abrams, Michael Bly, Lauren Cusick, Allison Graham, Matt Lucatamo, Jane Haracz, Tristan Jenis, Rose Langrehr, Michael McDonald, and Isaac McHugh. They add a solid backdrop when required and move gracefully as scenes progress.

Performances of Carrie: The Musical run from September 13 through 22 on Friday and Saturday nights (8 pm) plus two Sunday matinees (2 pm). Tickets prices are $25 with senior/student tickets $20 and children (12 or younger) $15. Group ticket rates are also available through the box office. Tickets can be purchased online at www.wilmingtondramaleague.org; by contacting the box office at (302)764-1172; or visiting in person at 10 Lea Boulevard. The show runs approximately 2 hours with a 15-minute intermission. Refreshments – including alcohol – are sold at the concessions stand.

The Wilmington Drama League seats 260 patrons, including six wheelchair bays. The theater is equipped with an ADA compliant entrance ramp and bathrooms. “Flex Tickets” are also an option for those who plan to watch several WDL shows, but maybe not all of them. Inquire at the box office.

Don’t let “a curse of blood” keep you away from this production at the Wilmington Drama League. Bring a date and a corsage!

Steve Tague is New Producing Artistic Director at The REP

The contents of this post come from a press release courtesy of The Resident Ensemble Players...

Steve Tague has officially been named the Producing Artistic Director of the Resident Ensemble Players (REP), the professional theatre company in residence at the University of Delaware. Steve has served as the Interim Producing Artistic Director of the REP and Chair of the Department of Theatre and Dance at the University of Delaware for nearly two years.

“I’ve spent a great deal of time in the last two years getting to know the REP’s audience,” says Steve Tague. “It’s been a pleasure. I love hearing about their deep connection to the theatre.”

Steve Tague, new Producing Artistic Director
of The REP. Photo courtesy of The REP.

Steve spent the early part of his life as an actor, performing at regional theatres including Seattle Repertory Theater, A Contemporary Theatre, Great Lakes Theater Festival, Baltimore Center Stage, Walnut Street Theater, the Arden Theater, Sierra Repertory Theater, Delaware Theater Company, and was a founding member of the Resident Ensemble Players’ Acting Company.

Steve joined the faculty at the University of Delaware in 1992 and shifted more of his attention to teaching and directing. As a faculty member, he has taught courses for the PTTP in acting, movement, speech, and voice. As a director, he has directed productions with Delaware Theatre Company, Idaho Shakespeare Festival, Texas Shakespeare Festival, and the Resident Ensemble Players since its founding in 2008.

In 2022, when the REP’s founder Sandy Robbins announced his plans to step down, Steve Tague agreed to serve as an Interim Producing Artistic Director of the REP and Interim Chairperson of the Department of Theatre and Dance at the University of Delaware as a national search for a successor was conducted. After conducting a search, Steve Tague has agreed to throw off the “Interim” in the title and take on the challenges of leading the REP into its next chapter.

“I’m focused on the future of performing arts in the Delaware region,” says Tague. “I’m dedicated to growth for the REP, and our audience and community will be a vital part of that. We’re also introducing two new majors in our department, one in theatre and one in dance. It’s very exciting to serve young and old, and everybody in-between, throughout the region with the beauty of the performing arts.”

ABOUT THE REP
The Resident Ensemble Players (REP) is a professional theatre company in residence on the campus of the University of Delaware. The REP’s mission is to engage audiences throughout the tri-state region and beyond with frequent productions of outstanding classic, modern, and contemporary plays performed in a wide variety of styles that celebrate and demonstrate the range and breadth of an ensemble of nationally respected stage actors. The REP is committed to creating and expanding audiences for live theatre by offering a diversity of productions at low prices that enable and encourage the attendance of everyone in the region, regardless of background or income. The REP performs in the Roselle Center for the Arts, 110 Orchard Road, Newark, Delaware on the main campus of the University of Delaware.

Another Bloody Good Time with Bootless Stageworks

By Mike Logothetis
Theater reviewer Mike Logothetis grew up in North Wilmington, performing in school and local theater productions. He lives in Newark, but you can find him wherever the arts are good.

You’ve Got Red on You is a “Rom-Zom-Com” that follows unfocused Shaun as he deals with his job, girlfriend, mother, and stepfather amid an apocalyptic uprising of zombies in London. It’s a campy musical based on the 2004 film Shaun of the Dead and provides lots of laughs plus gallons of fake blood. (More on the blood later.)

Shaun (Shaun Yates) feels he is at his best while downing pints with his slacker friend Ed (Shawn D. Kline) at their favorite pub [(Drinking) At the Winchester]. But Shaun’s best is not good enough for everyone in his life, save for his mother Barbara (Rosanne DellAversano) and Ed. He garners no respect at work; roommate Pete (Jose Bernard) is tired of his antics; girlfriend Liz (Mariza Esperanza) can’t get past his immaturity; stepfather Phillip (Dale Martin) is always judging him; and Shaun just slides through life without any planning or reasonable measure of success.

But when a zombie apocalypse happens, Shaun takes the lead and formulates a strategy for survival [The Perfect Plan]. Shaun and Ed fight their way through streets full of the undead to pick up Liz and her flatmates Diane (Shayna Greenblatt) and David (Benji Deivert). From there, the survivors travel to Shaun’s mother’s house where they discover Phillip has been bitten and will soon turn into a zombie. After reconciling their differences, Phillip dies on good terms with Shaun…before Shaun must kill him again.

Shaun decides the group needs a safe, familiar place where they can hole up and more easily defend themselves — the Winchester! But the living must hike a mile amongst the walking dead to arrive safely at their destination. Failed actress Diane suggests imitating the gait and mannerisms of the enemy to pass safely through them [Walking With The Dead].

The dance choreography during “Walking With The Dead” was fun and lively. Director Rosanne DellAversano keeps things fresh with this production by adding cool slow-motion (and replay!) action as well as pop culture references. There’s even a clever Queen-inspired scene injected into a zombie-killing spree. Since Shaun and Ed are avid gamers, video game music often accompanies kills when the two are bearing weapons to destroy their enemies. Kudos to the “Enzomble” — Abbey Ketterling, Lauren Knecht, Grayson Martin, and Antoine Martinez-Jones — for their portrayals of undead attackers who die again and again while swimming in pools of blood.

Full disclosure for those in the "Pit Splatter Zone:" This is a messy show with fake blood splattering all around. Bootless Stageworks is not responsible for damage to clothing or any other personal items. It is strongly recommended that you don’t bring purses, bags, or anything else that can’t get wet, dirty, or needs to be left on the floor. Ziplock bags are suggested for cell phones. Bring your own poncho or other covering as Bootless does not offer or sell such items. If you are sitting in the comfortable tiered seats, there’s no need to worry about protecting yourself or your personal items.

Once at the Winchester, our heroes fight amongst themselves while battling invading zombies. There are lots of casualties and subsequent blood splattering. Who will ultimately survive? How will the world look after order is restored? Will Shaun and Liz reconcile or split apart? Come to Bootless and find out!

Standout performances by Yates [Random] and DellAversano [A Mother’s Love] provided vocal highlights. Esperanza’s misty, windswept version of A Break-Up Song was both touching and hysterical, thanks to the props department. The ensemble cast works well together whether as friends or foes.

Live musical accompaniment is provided by The Zombie Lovin’ Band — Joe Eigenbrot, Jim Fazzino, Zack Geffre, and Deb Bialecki — under the direction of James W. Fuerst.

The remaining performance schedule of You’ve Got Red on You is: Friday July 19, and Saturday July 20 at 8:00pm. Tickets start at $30 and patrons can opt to sit in the "Pit Splatter Zone" ($38) or not. 

Note: the theater boasts that "...our blood delivery system guarantees the MOST SPLATTER EVER" for those opting to sit up front. Tickets can be purchased at their website (https://www.bootless.org/red-on-you/) or by calling Bootless Stageworks at 302.887.9300.

 Tickets are also available at the door, subject to availability. There is one 15-minute intermission. Bootless Stageworks offers a full selection of alcoholic and non-alcoholic drinks plus some snacks at its concessions stand. The theater space is in the basement of St. Stephen’s Lutheran Church at 1301 N. Broom Street in Wilmington.

After the show, you can rally at your favorite local Trolley Square pub. If only there were a Winchester nearby… :)

Nothing Bad About "Something Rotten" in Garnet Valley

By JessAnn Coder
Jessica Ann Coder can insert musical theatre lyrics into any conversation without even trying.

Garnet Valley Performing Arts Association’s production of Something Rotten follows the Bottom brothers as they try to find theatrical success while competing with the wildly popular William Shakespeare.

Something Rotten is a musical comedy full of laughs, love, and more than a few references to other theatrical productions. The fast-paced lyrics of Karey and Wayne Kirkpatrick throw several jokes at you throughout the two-and-a-half-hour show, leaving you smiling as we roll from one scene to another.

Keian Hagstrom’s smug portrayal of the celebrity William Shakespeare was wonderful, with this tap battle with rival Nick Bottom, portrayed by John Dingle, being a highlight of both men’s performances.  

The stand-out song from the production was A Musical, led by Aubrey Murphey’s Nostradamus.  A large, over-the-top number complete with tapping and high kicks covered several popular musical theatre styles and was an absolute joy to watch.  Murphey’s performance was an absolute standout for this performance, perfectly handling the comedic timing required of her character.

Max Hunter’s performance as the younger Bottom brother, Nigel, was stunning.  He brought sweetness to the naive character who claims to be Shakespeare’s biggest fan and was excellent from his first step onto the stage to his last.

Vicki Coleman as Portia, a daughter of the theatre-hating Puritan, shone anytime she was on stage.  Coleman’s smile and charm brought extra energy to her duet with Nigel Bottom in Act One, I Love The Way.  She was an absolute joy and I found my eye drawn to her every time she was onstage.  

The ensemble did a lot of the heavy lifting for Something Rotten, filling the stage for nearly every number and bringing choreographers Gina Veith and Carli Fruchtl’s wonderful dancing to life while also providing harmonies that truly gave me goosebumps.  Be sure to keep an ear out for the crisp and clean acapella portion of We See the Light where their voices really shine.

Omelette, the musical within a musical, brought some of my favorite costumes of the entire production.  Keri Miller, Jenn Schneider, and Chrissy Stuardi absolutely outdid themselves during the second act.  

Performances of Something Rotten were held at Garnet Valley High School Auditorium in Glen Mills, PA. The next summer production for GVPAA is Kids on Broadway, running June 17-21. For more information about GVPAA, visit https://gvpaa.org/ or follow them on Facebook @GVPAA!

On the Run with Bonnie & Clyde at Wilmington Drama League

By Hannah Leposa
Theater fan Hannah Leposa is excited to be living in Wilmington where there is a lively theatre community and high quality performances.

Bonnie and Clyde, produced by Wilmington Drama League, follows the lives of the notorious Bonnie Parker and Clyde Barrow as they navigate love and being on the run in the South during the Depression era. 

Bonnie and Clyde now playing at Wilmington Drama League. 
Photo by Sheena Ahlmer.

Not having any background on the show before attending, I was pleasantly surprised when I walked into a comedy and found myself laughing more times than I could count during the show. The show uses a mix of gospel and blues music, written by Frank Wildhorn, lyrics by Don Black, and a book by Ivan Menchell. This production was directed by Liz Hazlett.

The cast was truly excellent. Standout stars included Stephen Piergrossi as Clyde Barrow and Chiara Robinson as Blanche Barrow.

Stephen Piergrossi’s portrayal of outlaw Clyde Barrow was exceptional. Piegrossi's acting was superb, but it was his storytelling during the musical numbers that made him truly shine. It was well beyond anything I have seen in a community theater production.

Chiara Robbinson was funny, captivating, and vocally excellent from her first moment on stage. Her portrayal of Blanche Barrow had me excited every time I saw her. You Love Who You Love was a standout performance of the show performed by Robinson and Meghan Arters, who portrayed the titular Bonnie Parker.

Meghan Arters as Bonnie Parker was ravishing. Every time she opened her mouth to sing, I knew I was in for something amazing. Her performance of How ‘Bout a Dance was stunning.

Young Bonnie and Clyde, portrayed by Callie Hazlettt and Owen Ahlmer respectively, sounded amazing and showcased voice maturity beyond their young ages. Alex Bock played the older brother of Clyde perfectly, and I would have believed that two actual brothers were on stage during their performance of When I Drive.

I get nervous when I attend productions where the cast is speaking with accents, often people drop the accent or are terrible at it. This cast put in the work. Everyone committed and it added a level of professionalism to the production that heightened the audience's overall experience.

I would be remiss if I did not mention some of the crew. Lighting designer Ryan Philips reminded me how integral lighting can be to elevating a show to the next level with his superb design. The choreographer, Patrick Murray made great use of space and I was impressed with the chair choreography in You’re Goin’ Back to Jail. Costume designer Shelli Ezold transported us back to the 1930s with her attention to detail and design with each character's costumes.

The remaining performances of Bonnie and Clyde are on June 21 and 22 at 8:00pm and June 23 at 2:00pm. All shows are at the Wilmington Drama League. The show runs around 150 minutes with an intermission. Tickets are $25 and can be purchased at tickets available now at wilmingtondramaleague.org.

Recognizing Improv Comedy as an Art Form

By Jeff Gudzune

Jeff writes book reviews for a variety of publishers and is active in community theater. Since 2013, Jeff has owned and operated Matrix Notary Service.

In the pantheon of theater, improv is one of the most difficult arts to master. It is not for the timid. There is no script, no set, and no director. It’s a series of extemporaneous actions; a symbiosis that requires familiarity and trust. There must be a bond among the performers for it to work. 

Fearless Improv serves as an exemplar of that bond. A frequent sight onstage as City Theater Company's traveling comedy team, this troupe has mastered the art — weaving hilarious concepts from the ether. Moreover, they have been so gracious as to share their talents with curious laymen such as myself.

Learning lines and blocking can be difficult even under the controlled circumstances of a scripted play or musical. To create a character, dialogue, and blocking based on a simple premise and then launch into a performance is deer-in-headlights terrifying! The talented array of performers at Fearless do this weekly. 

Featuring an ever-growing cast, Fearless has been a staple at CTC for almost 10 years. I recently had the opportunity to take the Intro to Improv workshop taught by Jason Langin. In just two hours, the participants went from a collection of 15 strangers too timid to give more than their names to a fully interactive group, feeding off one another’s creativity in a series of short skits and exercises. It was terrifying and exhilarating!

Fearless Improv provides an off-the-cuff and truly wondrous experience. Improv starts with a premise, a suggestion from the audience. From this premise, the performers springboard into a full-fledged comedic performance. Fearless recently added a musical component to their shows with Drew Waldron improvising musical interludes and songs as part of the show. Sadly, Drew is leaving for new opportunities at the conclusion of the season. His contributions will be missed.

Fearless Improv brings something new every time. While there is a format to the show, anything can happen. The reality of improv is to expect the unexpected. It takes talent to instantly come up with dialogue and run with it, and it takes keen observation to see where the scene is going. It’s obvious that members of this group trust one another and have developed a strong working relationship.

Fearless Improv offers regular live performances, September through May, at CTC's home at The Delaware Contemporary, as well as quarterly "18 and over" shows at Wilmington Brew Works. They also offer regular improv classes for adults, a summer youth improv camp, and professional development workshops for corporate and business groups. 

To learn more, visit city-theater.org/fearless.

Dancing Through City Theater Company's 30th Anniversary Season Closer, "Dancing at Lughnasa"

Jeff Gudzune writes book reviews for a variety of publishers and is active in community theater. Since 2013, Jeff has owned and operated Matrix Notary Service.

City Theater Company's cast of Dancing at Lughnasa.
Photo by Joe del Tufo, Moonloop Photography.

No one does drama, peppered with light humor, better than the Irish. Lives of toil, tragedy, and the struggle for upward mobility are made easier by finding the humor in life. It’s a reality that refreshes in a world of 24-hour news cycles foreshadowing international conflict, political upheavals, and the possibility of economic catastrophe.

City Theater Company's production of Dancing at Lughnasa, directed by Mary Catherine Kelley, is the personification of Irish Drama. It’s not devastating, but it is stark and evocative. The story is based on playwright Brian Friel's own reflections of life in rural Ireland in the summer of 1936. The eclectic extended family members have their own story to tell, seasoned with an equal mix of humor and sorrow.

The action takes place in the Mundy household, a small cottage in the town of Ballybeg during the summer of 1936. The narration is provided by an adult Michael Mundy (Daryan Borys), who also speaks in the voice of his 7-year-old self during interactions with his family. Michael appears offstage as an adult, and the cast interacts with the air around a spotlight representing the child.

Michael is unaware of the tempest brewing within his family, the drama that will crescendo as the play moves through its acts. He only wants to enjoy the remaining weeks of summer before school starts and to find some peace in a house filled with women — five unmarried sisters Kate (Kerry Kristine McElrone), Agnes (Jessica Jordan), Rose (Kate Brennan), Maggie (Jennifer Youngblood), and Christina (Éibhleann Clyne), Michael's mother.

The presence of his famous Uncle Jack (Paul McElwee), a Roman Catholic priest who has just returned from Uganda, adds a bit of mystery to the boy’s life. To further complicate matters, his wayward father, Gerry (Aidan McDonald), suddenly arrives to court his mother and purchase the boy's affection.

The Mundy family is a tapestry of latent desires and buried trauma. Kate, the oldest, is a schoolteacher and devout Catholic who is leery of the pagan themes of the approaching festival of Lughnasa — a Gaelic celebration marking the start of the harvest. Anges and Rose knit gloves but find their way of life endangered by industrial competition. Maggie and Michael’s mother, Christina, tend the house and reflect on what their lives could have been. Jack struggles to express himself and often wanders the house attempting to give voice to his muddled thoughts. Things are further complicated by the arrival of Michael’s father Gerry—a wanderer with big promises and very little follow through.

The talented cast conveys the emotions of the piece through their expressions and body language, as well as spot-on Irish accents. The musical accompaniment adds a sad tone to the actions presented on the stage. 

Among the central themes of the show are regret over the path not taken, the struggle for survival, and challenges to faith. Father Jack returns from missionary work to find his spiritual outlook somewhat changed. Social Scientists would call this "going native," but he has come to realize that not all roads lead to Rome in the spiritual sense. This concerns Kate, whose devotion to her faith leaves her fearful for her brother’s soul. Anges and Rose are forced to work long hours in the glove factory to support the family as Kate is forced into early retirement. Through it all, they remain united. There is conflict, but it is wholesome. It’s family.

Dancing at Lughnasa is a study of Irish culture and family life. The idyllic community in which the players live exists in the space between two worlds. There is the strict Irish Catholic heritage, devoted to the tenets of the religion and its firm dogma and the local traditions that may not be in line with that faith. The weight of the world in which they live is evident in the physical expressions of the actors as they portray a kaleidoscope of emotions on stage. One could not help but be taken away from the moment. 

While each performer brought their heart and soul to the role, the standout was Jennifer Youngblood’s embodiment of fun-loving life-spirit Maggie. Delivering stark, often comedic commentary, she serves as a bridge between the more serious Kate and the rest of the family. Equally impressive was Kate Brennan’s Rose, whose disability does not hamper her desire to find love.

Remaining performances of Dancing at Lughnasa are Sunday, 4/21, matinee (2:00pm) and Wednesday, 4/24 through Saturday, 4/27 (all 8:00pm). Tickets are available online at City-Theater.org.  Seating is mostly on risers, but ADA seating is available by alerting the House Manager. City Theater Company performs in the Wings Black Box of The Delaware Contemporary, located at 200 S. Madison Street, near the Wilmington waterfront. 

DTC's 44th Season Closer, "The Flatlanders," Certainly Doesn't Fall Flat

By Mike Logothetis

Theater reviewer Mike Logothetis grew up in North Wilmington, performing in school and local theater productions. He lives in Newark, but you can find him wherever the arts are good.

Delaware Theatre Company (DTC) closes its 44th season with the touching and funny play The Flatlanders by Bruce Graham. DTC has partnered with 1812 Productions to present this new composition about what it takes to keep the flame alive when everything else is, quite literally, falling apart.

The Flatlanders now playing at DTC.

Photo by Matt Urban, NüPOINT Marketing.

The show is a World Premiere for playwright Graham, who won the Rosenthal Prize for his play Coyote on a Fence, two Barrymore Awards for Something Intangible and Any Given Monday, and the Joseph Jefferson Award for The Outgoing Tide. He has received grants from the Pew Foundation and the Rockefeller Foundation plus was a past winner of the Princess Grace Foundation Statuette.

“We couldn’t be more excited to bring our audiences another world premiere production,” says Matt Silva, Executive and Artistic Director of DTC. “New work is important. So is laughter.”

And there is plenty of laughter – smart, corny, and edgy – to be found in The Flatlanders.

Travelers Ronnie (Jennifer Childs) and Michael (Scott Greer) must break into a remote cabin in the Poconos during a blizzard to ride out the storm. The two “flatlanders” from Philadelphia are in a committed 14-year relationship which is about to become wedded bliss (maybe?) in a day’s time. While taking stock of what the cabin can provide them, the couple also takes stock of their relationship.

Childs, the producing artistic director of 1812 Productions, and Greer are partners on stage and off. Besides both performers having celebrated solo careers, the couple has performed and created works together at 1812 Productions, Arden Theatre Company, Cape May Stage, and many more.

That deep personal connection is shown in the way the actors interact on stage. Timing and side glances and sighs and exasperations all feel very real to the audience. There are “no bars” or “hotspots” at the cabin so this typical modern couple must converse without modern distractions. The only outside voice is from DJ Skip on WJUL, whose bad jokes and anachronistic playlist constantly add a bit of humor to the situation.

But the lead characters provide plenty of great jokes and physical gags themselves. From Ronnie making one-point lists – plus the ever-growing IOU list to reimburse the owners of the cabin – to Michael gradually revealing his kinks (with help from a prop box), there’s always something happening on stage holding your attention.

The soon-to-be newlyweds discuss past successes, current failures, and future desires. Their banter ebbs and flows from normal, banal topics to conquering personal fears to upending societal norms. It’s a contemporary play and the topics are relevant but delivered with biting wit.

The main theme of the show can be summarized by a burst of dialog when Ronnie posits that maybe being married instead of just being together will lead to boredom. She says she knows what buttons to push now. Michael counters that they’ll find “new buttons to push” and they will be better for the growth. As he puts it, they are already feeling “the seven-year itch times two” but he is happy. No need to radically change what they’re doing now…maybe just tweak a few things here and there.

Michael’s statement “All of this will clear up and we’ll be fine” takes on a double meaning when considering the storm swirling outside and the reckoning happening inside the cabin – i.e., there will be resolution.

The production is directed by multi-time Barrymore Award winner Matt Pfieffer, whose work has appeared at Arden Theatre Company, the Pennsylvania Shakespeare Festival, Theatre Exile, People’s Light, and many others. The three scenes are nicely segmented and compartmentalized. Pfieffer keeps the movement and dialog moving, but not so fast as to miss the point.

The performance schedule of The Flatlanders is: Wednesdays (2:00pm), Thursdays (7:00pm), Fridays (8:00pm), Saturdays (2:00 & 8:00pm), and Sundays (2:00pm) through May 5. Tickets start at $32 while discounts are available for students, groups, and military members/veterans. The show runs approximately 80 minutes with no intermission. 

There will be pre-show Viewpoints on Wednesdays at 1:15pm during the run, plus talkbacks after Thursday performances. The April 27 2:00pm performance includes American Sign Language (ASL) interpretation. 

Call 302.594.1100 or visit DelawareTheatre.org to purchase tickets or for performance information. Delaware Theatre Company is located at 200 Water Street in Wilmington.

Don’t be a “DQ” and make plans to catch this show!

Fall Into the "Deathtrap" with The Rep This Month

By Mike Logothetis
Theater reviewer Mike Logothetis grew up in North Wilmington, performing in school and local theater productions. He lives in Newark, but you can find him wherever the arts are good.

The Resident Ensemble Players (REP) fully deliver in the form of Ira Levin’s 1978 Edgar Award-winning play Deathtrap – a dark thriller with a perfect blend of schemes, plot-twists, and black humor.

Ira Levin's Deathtrap playing now at The REP.
Photo courtesy of The REP.

Formerly successful playwright Sidney Bruhl (Lee E. Ernst) has had a recent string of theatrical failures; is dealing with writer’s block; and is getting short on cash. A potential change in fortune arrives in the form of a brilliant script sent by former student Clifford Anderson (Mic Matarrese). Clifford’s thriller – also titled Deathtrap – has all the makings of a Broadway hit. Sidney tells his wife, Myra (Elizabeth Heflin), that the student’s play could put him back on top if he steals it and passes it off as his own. But for that to work, Clifford would have to be out of the picture. Permanently. Myra sees the wheels in Sidney’s head turning and hopes the unthinkable hasn’t really been considered. Sindey assures Myra he is only kidding and would never truly entertain such an atrocity just to steal a script. But the play is called Deathtrap…

“I’m interested in the thievery,” says Interim Producing Artistic Director Steve Tague. “It is an old premise, but we don’t seem to get tired of it. What are we willing to do for success, or money, or fame, or admiration?”

Director Michael Gotch keeps the pacing tight and uses the wonderful set by Stephanie Hansen in ominous and oddly comforting ways. When Sidney isn’t scheming, he’s enjoying his brandy by the fire and fawning over his collectibles – various weaponry. But when his doddering evil takes hold of him, Sidney’s surroundings become his killing fields. Credit to Ernst for appearing tough to decipher when he’s being nice and when he’s sizing up his prey.

Matarese is solid playing a character who may just be too smart for his own good. His Clifford initially seems overwhelmed, but grows bolder and more driven in purpose as Act II develops.  The cast also includes REP company members Stephen Pelinski (attorney Porter Milgrim) and Kathleen Pirkl Tague (psychic Helga ten Dorp). The portrayal of ten Dorp is somewhat over-the-top, but provides humorous portents of things to come and unknown things that were. Plus, her hair – and that of Matarese – are glorious. Kudos to Denise O’Brien for her wig design.

The show is a pleasure to experience and holds up well after almost 50 years. Celebrated author Chuck Palahniuk praised Deathtrap thusly: “Everything looks so gorgeous and simple and approachable, but on the other hand, it’s so incredibly complicated and beautifully assembled.” I concur.

With over 1800 performances, Deathtrap is known as one of Broadway’s greatest successes. It was even adapted into a film starring Michael Caine and Christopher Reeve. Interim Producing Artistic Director Tague concludes: “The consequences of deception are the deliciousness of this play. It’s a wicked, outrageous romp that won’t disappoint.” 

Warning: This production includes strobe lights, gunshots, violence, and profanity. Many audience members gasped and visibly reacted to some of the surprises the plot revealed. 

Performances of Deathtrap run April 11-28 with Opening Night being April 13. Informal talkbacks with the cast take place following the evening performances on Thursday April 13 and Friday April 26. Two “prologues” occur on Saturday April 20 and Sunday April 28. Tickets prices range from $30-39 with discounts available for students, seniors, plus University of Delaware faculty and staff. Tickets can be purchased online at www.rep.udel.edu; by contacting the REP box office at (302)831-2204; or visiting in person at 110 Orchard Road Tuesdays through Fridays from 12 to 5 PM. The show runs approximately 2 hours and 20 minutes with one 15-minute intermission between acts.

The Thompson Theatre at the Roselle Center for the Arts is located on the University of Delaware’s Newark campus and is ADA-compliant. It is equipped with a hearing loop system, which works with hearing aid t-coils, cochlear implants, and in-house hearing devices. Wheelchair and other seating requests can be made prior to the performance by calling (302)831-2204 or emailing cfa-boxoffice@udel.edu.

The preface to the published script describes it as "...something so evil that it infects all who touch it...” but I would say it entertains all who witness it. Call it a Murder Game…